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S T A T I 






Pop-up Animal ABC Books 

Ann Montanaro 

East Brunswick, New Jersey 

By tradition ABC books are designed to teach the letters 
of the alphabet in a prescribed order, usually with 
additional text or illustration for each letter. In examples 
of ABC books from the medieval period until the 1 8 th 
century, the teaching of letters was closely associated with 
religious instruction. The alphabet was printed as part of 
a primer that was chiefly a book of prayers. By the late 
17 th century the usual accompaniment to the alphabet in 
children's primers was a catechism. John Bunyan was one 
of a number of Puritan writers who included alphabets in 
his books for children. At this time the alphabet was 
beginning to be taught to amuse as well as to edify. In 
1 693 John Locke argued for alphabet books to teach by 
means of entertainment. "A was an archer, and shot a 
frog" first appeared at the beginning of the 1 8 th century 
and light-hearted alphabet books for children began to be 

The 19 th century saw the introduction of a much wider 
variety of types of alphabet books including works with 
movable parts. Dean & Mundy produced A Good Child's 
Amusing Alphabet in the first half of the 1 800s. It had six 
leaves, each illustrated with a picture of a person, with a 
cut-out hole where the face should be. The face on the last 
leaf is visible through hole in the book. The text of this 
book begins "A stands for an Archer, B for his Bow." 
Other 19* century English-language ABC books with 
movables include A was an Archer (Dean & Son, 
ca.1860]; The Animated Alphabet; Or How A.B.C. Turn 
into D.E.F., and so on to the End of the Chapter (Ward 
and Lock, ca.1860); Dean's Moveable A.B.C: Prince 
Arthur's Alphabet, (Dean & Son, ca.1850); and Father 
Tuck 's ABC Spelling Book (Raphael Tuck, ca. 1 890). 

Alphabet books, whether they be flat books or pop-ups, 
typically fell in one of three categories: theme, potpourri, 
or sequential. Theme alphabet books follow a thematic or 
topical focus such as Robert Saduba's The Christmas 
Alphabet (Orchard, 1994). Potpourri books offer the 
author the greatest freedom since these titles have no 
apparent connection between the objects used to depict 
each letter. ABC in Living Models (Bookano Series, no 
published listed, ca. 1930) is such a book - "I is for Inn 

where travellers [sic] may rest, J is for Jackdaw, that 
builds a big nest." Road Safety ABC Pop-up Book (Dean 
& Son, 1968) is an example of a sequential story alphabet 
book that has a continuous story line to introduce the 
alphabet to children. In Road Safety children learn about 
how to travel carefully while going to school, bike riding, 
and crossing the street. 

Over 80 English-language pop-up ABC books have 
been published since the mid- 1900s. Examined here are 
about a dozen 20 th century pop-up thematic ABC books 
featuring animals, both real and imaginary. They are listed 
chronologically by publication date. 

A Child's ABC of Animals in Living Pictures. By John 
Pemberton. Radcliffe-Howarth, illustrator. Manchester, 
England, World Distributors, 1 954 . No copy was available 
for review. 

Animal Talk, a Pop-up 
Alphabet Zoo. By Robert J. 
Leydenfrost. Tibor Gergely, 
illustrator. NY, Golden Press, 
1960. Each letter is 
represented by one or more 
pop-up animals. 

The Pop-up Animal-Alphabet Book 

Akihito Shirakawa, designer. 
NY, Random House, [1967]. 
Each letter of the alphabet is 
illustrated with an animal in a 
natural setting. The text often 
does not make sense but it 
does rhyme - "I is for Ibexes, 
real down and uppers. J is for 
jackals, who steal tigers' 
suppers." It includes five 
pop-ups and tab-operated 
mechanicals. It was reissued 
by Random House in 1994 
with a different cover and a 
few changes to the mechanicals. 

By C. B. Cerf. 


Continued on page 2 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for the society is $20.00. For more 
information contact Ann Montanaro, The Movable Book 
Society, P.O. Box 1 1654, New Brunswick, New Jersey 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is August 15. 

Continued from page 1 

The Animals' ABC's. By Dean Walley. Rich Rudish, 
illustrator. Kansas City, Missouri, Hallmark Cards, 
[1970]. Troll reproduced this book in 1988 and Gallery 
Books in 1989. The Gallery edition is larger than the 
Troll and Hallmark editions and both of the reprints 
vary slightly from the original on the treatment of the 
animals on the first and final two pages. The book has 
short descriptive phrases accompanying the illustrations 
of the fanciful animals - "A is for ape, he is fierce and 
strong." Small pop-ups and tab-operated mechanicals 
bring the animals to life. 


oomtner ^. 


| Alphabet \JL 


The Most Amazing 
Alphabet Book. By 

Robert Crowther. James 
R. Diaz, paper engineer. 
NY, Viking Press; 
Middlesex, England, 
Kestrel Books, 1977. 
Large black-and-white letters printed on eight pages are 
moved by tabs or by lifting the flap to show a colorful 
animal. This book was reproduced in 1992 by Penguin 
Books as The Mini Most Amazing Hide-and-Seek 
Alphabet Book and was reissued with a new cover in the 
original size by Candlewick in 1999. 

A is For Animals: 26 Pop-up Surprises: An Animal 
ABC. By David Pelham. NY, Simon & Schuster Books 
for Young Readers, 1991. Each letter of the alphabet is 
shown with both the upper and lower case letters and is 
illustrated with a pop-up animal. The small, detailed 

pop-ups are enclosed within 10x10 cm. flaps on each 
page and there is no text except that used to identify 
the realistic animals. 

ABC Dinosaurs and 
other Prehistoric 
Creatures. By Jan 

Pienkowski. Rodger 
Smith and Helen 
Balmer, paper 
engineers. NY, Lodestar 
Books, 1993. Five 
double-page pop-ups 
and tab-operated 
mechanicals animate colorful dinosaurs. The bodies of 
large, brightly colored dinosaurs are patterned with 
letters of the alphabet to help the reader match the 
name with the animal. Without the r-patterned 
covering it would be difficult to tell the 
Rhamphorhyncus from theQuetzalcoatlus. Fortunately 
a pronunciation guide also accompanies each word. 

Robert Crowther's Pop-up Animal Alphabet. By 

Robert Crowther. London, Walker Books, 1994. No 
individual letters appear on the pages of this book, only 
black and white words beginning with the lower-case 
letter. Cartoon-like animals peak out from behind the 
words when tabs are pulled and lift-the-flaps are 

Zany Animals ABC: Changing 
Picture Book. By Laura Galvin, 
Siobhan Dodds, illustrator. Jose R. 
Seminario, paper engineer. 
Wishing Well Books, 1994. This 
book contains alliterative riddles 
that are solved when the tab is 
pulled and the transformational 
slat is moved to reveal the animal 
answering the question. For 
example, "How does a quail spend 
quiet time? Sewing a quilt!" 

Dinosaur Pop-up ABC. By Arlene Maguire. Paul 
Mirocha, illustrator. Dick Dudley, paper engineer. NY, 
Little Simon, 1995. Each of the pop-up dinosaurs 
shown in this book is set in a realistic environment. 
Brief text accompanies each of the letters with a fact 
about the dinosaur: "On top of Parasaurolophus's head 
was a long tubular crest that curved back. Because its 
fbrelimbs were so short, it is believed this animal 
walked on two feet." There is no pronunciation guide. 

Continued on page 12 

An Artist's Pop-up Impression of Girona 

Theo Gielen 
The Netherlands 

Quim Corominas, Girona. [Girona], Ajuntament de 
Girona, 2000. ISBN 84-86837-96-0. 

It is quite remarkable to find a pop-up book that 
celebrates the artist's birth place and home town. We 
know how much Vojtech Kubasta loved his city and 
that he did a series of pop-up postcards with the 
(tourist) highlights of Prague, and Louis Giraud is said 
to have planned a special volume of his Bookano series 
to celebrate the 

city of London. 

But the work 

was never 

finished and 

only the pop- 

ups of the 

Tower of 

London, the 


Cathedral and 

the Tower 

Bridge were 

published as 

parts of other 

Bookano books. There may be some other examples, but 

the way the Spanish town of Girona now is celebrated 

in the artistic impression by its citizen, the painter and 

fellow member of the Movable Book Society Quim 

Corominas, we think is rather unique. 

Mr. Corominas is an avid collector of pop-up books 
and in 1999 had a great exhibition in Girona showing 
a survey of rarely-seen, historical Spanish pop-up books, 
accompanied by a wonderful catalog that pictured in full 
color a large number of the books on display. The 
catalog also contained several pop-ups and a complete 
reprint of an antique mix-and-match booklet. Surely one 
of the surprises was the (almost?) complete range of 
very rare Spanish editions of the pop-up and movable 
books done by Harold Lentz, Julian Wehr and Walt 
Disney in the 1930s and 1940s, books that hardly ever 
come on the market. Last year this exhibition was also 
shown on the isle of Mallorca - with the same catalog 
but with a different imprint - bringing the movable 
book back to the place where it originated, since the 
Mallorca born Ramon Llull (ca. 1232-13 15) is thought 
to have been the first person to use movable parts in his 
astrological/ cabalistic books. 

But Mr. Corominas is not only a painter and a 
collector, he is also a teacher at the local School of Arts 

for Children where for the last three summers he has 
held special workshops for kids entitled "Visions of 
Girona." Working with them and encouraging them to 
make drawings, photographs and collages of the town 
where they live, the teacher has also had the 
opportunity to observe his city from different and, 
sometimes by the original contributions of the children, 
unexpected points of view. And again he saw the 
wonder of the city where he was born and where he has 
lived all his life with only some interruptions for 
periods in Paris and London. 

Girona is situated in the ultimate north east section 

of Spain and it 
is where all 
the tourists 
coming from 
France to spend 
their holidays at 
the beloved 
"Costa's" see 
their first 
Spanish city 
when passing 
the mountains 
of the Pyrenees, 
the natural 
frontier between 
France and Spain. More accurately we should say 
between France and Catalunya since this province with 
its capital Barcelona has a special, semi-independent 
status within Spain, with its own language and culture, 
treasured in a rather extreme measure by Mr. 
Corominas. The city of Girona was in the Franco times 
a rather forgotten place that didn't benefit from the 
mass tourism to the Spanish coasts started in the 1960s, 
as did Barcelona. It was only after the death of the 
fascist dictator in 1975 that Catalunya as a whole, and 
Girona in particular recovered, but still always Girona 
is rather a city of the Catalunians, not of the tourists. 

And it is this especially Catalunian city that Mr. 
Corominas wanted to celebrate with a pop-up book. The 
fulfillment of his long cherished desire was accelerated 
when the city government was willing to publish the 
book as a special edition and program book for the 
annual week of festivities in honor of the patron of the 
town, Saint Narcis. By chance the publication coincided 
with an exhibition of Corominas' paintings, 1 967-2000, 
in the local museum last autumn. For local reasons the 
book came in a cardboard case inlaid with a separate 
booklet containing the complete program of the 
festivities held the last week of October (October 29 is 
the birthday of St. Narcis) and a compact disc with the 
music of a local jazz orchestra. The 1000 copies of the 

regular edition were only for sale in the local 
bookshops, magazine stalls, etc., and, unfortunately for 
collectors, sold out within the week. But there is a 
special handmade edition, limited to fifty copies with- 
an-extra of which some copies are still available. More 
about this later. 

The big (335 x 262 mm.), cloth bound book has the 
title Girona in pencil-drawn letters and a colorful, 
stylized impression of the town on a brown/red 
frontcover. The title is repeated in printed letters on the 
spine. The first page of the text-less book shows a 
somewhat stylized pencil-drawn picture of two 
architectural church towers and an impression of the 
town houses in black against a greyish/brown 
background. This first page proves to be the back of the 
first of five zigzag panels that fold out into a panorama 
over six feet long. Every panel has three forestanding 
layers that give the panels the shape of a triangular cake 
piece with the suggestion of depth. The background has 
greyish pencil pictures of the contours of the city done 
on an almost white background that gives the 
suggestion of the fierce sunlight that makes you think 
you see everything shrouded in a kind of fog. As a 
consequence, the forestanding layer, cut into shape, 
looks very dark and gives the suggestion of seeing the 
pictured buildings in their shadows. This and the 
second layer are done in black drawings before a dark 
brownish yellow, sand-colored background. Only the 
first and lowest, shaped coulisse have heavy colored 
accents of shiny blues, yellows, purples and some 
glorious red, orange, pink and ochre- against its almost 
black background. 

The whole surely gives an appropriate, though 
artistic impression of this Spanish town as the mixture 
of the heavy, dazzling sunlight causes you think you see 
all the rest as darkened by its own shadow. And it looks 
so hot that you know you will not see any living 
creatures anywhere. Nevertheless it stays a Spanish 
town, with all its smells and colors, and with its cool, 
small streets built closely together in the early days to 
avoid the heat of the sun reaching the areas where the 
people live. For that reason, Spanish houses, even 
(historical) Spanish cities look like closed bastions built 
to protect their inhabitants. They look abandoned, by 
day at least. It is only after the sun goes down that the 
Spanish cities seem to revive again and the dazzling 
colors get their powerful warmth as if they have to 
reshine the light of the day against the dark of 

the night. All this play of light and dark, day and night, 
the dazzling colors of the sunflooded town changing 

into the warm colors in the shadows of the dark, the life 
that seems to have gone by day but is on its point of 
return by night, we think we see wonderfully mirrored 
in the artwork of Quim Corominas as present in this 
Girona celebration. This is especially true on the sunny 
day as we write this article, with the whole panorama 
unfolded in the sun, we have the nice feelings of being 
virtually in Spain for a couple of hours. The atmosphere 
of the country is touchingly kept within the covers of 
this (pop-up) book - maybe the best compliment one 
can give to an artist. 

And, surely we also recognize the typical details that 
make the town of Girona visible: the compactness of the 
medieval center with its age-old houses in gothic and 
even romantic style; the big medieval gothic cathedral 
and the gothic San Feliu church tower, symbols of the 
Catholic dominion that ruled (rules?) Spain towering 
out above sea of old, weather-beaten (darkened!) roofs 
and chimney stacks of the "worldly" buildings. We see 
the houses standing for centuries already on the side of 
the river that has hardly any water in the summer but is 
wild and impressive, even alarming, once the waters of 
the melting snow from the mountains comes at the end 
of the winter or in early spring. We recognize many 
other historical monuments, even the characteristic iron 
bridge, built by Gustave Eiffel (of the Paris tower) in 
the 19th century that proved to be a bottleneck until the 
1970's for European tourists trying to reach Spain's 
coast as fast as possible. It is almost out of use now 
since the large streams of tourists use the highways far 
from the town. We think we even recognize the artist's 
studio since he lives in the middle of the historical 
inner city. 

Be warned, do not expect this to be one of the mass 
market souvenirs of your Spanish holidays! The book is 
a highly artistic impression of this Spanish town, 
cherished and loved in an almost jingoistic way by its 
maker. So be prepared you will have to learn the 
pictural language of the artist before being able to fully 
enjoy the delights of this special pop-up book. 

As mentioned earlier, the "regular," trade edition of 
the book that was offered for only 3000 Pesetas, sold 
out within the week during the town's festivities. 
Lovers will have to scan the web sites of antiquarian 
(Spanish) booksellers to trace a copy. When you 
succeed, be sure to order immediately, for it will 
certainly be a collector's item! 

Continued on page 5 

Member Honored 

Betty Tisinger 
Moneta, Virginia 

Dr. David Burton, Associate Professor of Art 
Education at Virginia Commonwealth University and 
Virginia Art Educator of the Year 2000, was recently 
honored at the National Art Education Association 
Conference in New York City as National Art Educator 
of the Year 2001 for Higher Education. The award 
recognizes excellence in scholarship, research, service 
and teaching. We are proud of David's recognition for 
this very prestigious award. David is an avid pop-up 
collector and a long-time member of the Movable Book 

Betty Tisinger and David Burton 

At the NAEA Awards luncheon David was presented 
with a very special gift - an autographed copy of Robert 
Sabuda's The Wonderful Wizard of Oz which Robert 
had personally inscribed to him. When the gift was 
presented and David opened the book to show the 
attendees a rolling ripple of Ahhhhs went through the 
audience. And to further add excitement to the event, 
the Virginia Art Education Association presented ten 
other nominees copies of the ABC Disney book also 
autographed and inscribed by Robert Sabuda. We stole 
the show! Many thanks to the generosity and 
graciousness of Robert. 

I, also a collector and member of the Movable Book 
Society, was in charge of giving out the awards. Once 
the books were given the recipients could not wait to 
open them - and everyone wanted to see them ! After the 
meeting people were following me down the hall asking 
where they could get one of the books. I think we may 
have started another whole group of collectors. And 
what better group than art teachers. As Robert wrote, 
"One of the most important things a young artist can 
have in his or her life is encouragement. The knowledge 
that someone is standing along side them offering 
guidance, a new point of view or a personal pearl of 
wisdom. Thank you for having the kindness and grace 

to share your extraordinary insight with the artists and 
with those who will value the arts in the future. Without 
them, and you, the world would be a lot less colorful." 

Well, thanks to the extraordinary talents and 
generosity of such individuals as David Burton and 
Robert Sabuda the world is a lot more colorful. 

Girona, continued from page 4 

For those who can afford a copy of the limited 
edition it is made in an edition of only 50 copies. It has 
the same measurements as the trade edition, but all of 
the copies are handmade. The panels are, again, built 
up into three freestanding layers before a background, 
cut by hand out of special handmade paper and glued 
with the colored accents cut from different sorts of 
paper. The result is a mixture of engraved prints and 
flat color areas. The artist does different versions and 
different combinations of the sights, so each copy of 
this limited edition is unique, making them more an 
original graphic work of art than an "ordinary" book. 
Besides there is an extra: every copy has on its first 
page an original etching of the city of Girona done in 
two colors and signed in full by the artist. The cover of 
the limited edition has an embossed, blind-stamped title 
and impression of the city. The inner side of the front 
cover has, again on special handmade paper, the title, 
the number of the copy and the signature of the artist. 
All copies are housed in a specially made bookcase 
done in dark brown cloth. The copies of this limited 
edition are available for 65.000 Pesetas ($345.00) and 
are available directly from the artist: 

Quim Corominas 

Forca, 25, 2-1 

17004 Girona -Catalunya 


Who are We? 

As of May 15 the paid membership in the Movable 
Book Society membership numbered 415. While the 
majority of members are located in the United States, 
sixty members are located in other countries: 15 in 
England, 11 in the Netherlands, 10 in Canada, 6 in 
Germany, 4 in Italy, 3 in Spain, and one each in 
Sweden, the Philippines, Mexico, Sweden, Israel, 
Switzerland, Belgium, Ireland, New Zealand, Australia, 
and France. 

Pop-up Design - The Peep-Show Pop-Up: 
Fifth in a Series 


Toronto, Ontario, Canada 

The Peep-Show Pop-up: 

The peep-show, also known as a tunnel pop-up, is a 
single, multi-layered scene into which the viewer 
peers. The view port is often a small hole, hence the 
name peep-show, but the name tunnel is just as 
befitting. Each successive layer of the scene is held in 
place with accordion or bellows-like sides, with the top 
and bottom usually open. This type is likely the rarest 
of all pop-ups I have come across. In fact, I don't have 
one in my collection of over 350 titles. 

A Peep-Show Pop-Up 

The peep-show pop-up concept is well over 150 
years old. In fact, one of the most famous peep-shows 
is of Queen Victoria's visit to Crystal Palace in 
London's Hyde Park during the Great Exhibition of 
1851. I had the pleasure of seeing this pop-up several 
years ago. An acquaintance of mine purchased it at an 
antique market over 30 years ago for about $20! He 
displayed it for me stretched out on a table with a desk 
lamp shining down on it from above. Much to my 
pleasure, he slowly moved the lamp over the book's 
length giving the scene an unexpected added 
dimension of "live weather" as the lamp moved over 
top of each segment. 

Apparently, a book depicting a scene of the Thames 
Tunnel at Rotherhithe also exists published during the 
same time period as the Crystal Palace book. 

Peep-Show Construction: 

Several techniques can be applied to construct a peep- 
show. I'll be discussing two different styles in this 
article. The first is a layered approach where each 
successive layer of the scene is glued on top of the 
next. In the second approach the layers are inserted 
into the accordion like body without requiring a lot of 

As with all pop-ups, choosing an appropriate image 
for your work is the key to successful results. I have 
long been thinking of a peep-show entitled "What the 
Butler Saw. " Remember that for this style a long 
narrow, tunnel-like image works best. 

The Paste-Up Technique: 

Starting with the image background, determine the 
height and width of your scene. Now choose how 
many individual layers the scene shall contain. 
Choosing too few may make your scene look flat but 
choosing too many may make your scene difficult to 
view. The background and four to seven layers works 
quite well. 

Once the dimensions have been determined, decide 
on the separation distance between your layers. I find 
that 1" to V/i" (25 to 40mm) works quite well. Now 
create the blanks for all your layers as illustrated 

A Peep-Show Layer Blank 

The width of the blank is equal to the width of your 
background plus twice the separation distance (shown 
as "2 x") plus the glue tabs. For example: for a 5" x 8" 
background image with IW layer separation and Vi" 
glue tabs, the layer width would be 8" + (2 x V/ 2 ") + (2 
x ] /z") = 12". Mark and score the fold lines as shown 
above. Don't forget to add a fold line at one half the 
image separation distance (show as x) to allow for the 
accordion action. Now fold the blank as illustrated 

First Layer being glued to Background 

Each successive layer (moving forward towards the 
viewer) is identical to the first and is glued on top. 
The size of the view ports in each layer should slowly 

increase from back to front because the viewing angle 
diminishes as the depth increases. The front most layer 
can either have the largest view port, or for a more 
intimate (and possibly clandestine) a small hole or 
even a key hole! 

The Slotted Accordion Approach: 

This approach requires a little more planning, but a 
lot less gluing. The image planning is identical to the 
previous technique, but the blanks are slightly 
different. Each blank is only two tab widths wider than 
the background. The tabs should be constructed as 
shown below (the dotted lines are fold lines): 

The layer closest to the background has been 
removed for illustration purposes. The layers are then 
inserted into the slots by folding the tabs to allow them 
to pass through the slots and then straightening them 
out again. For the very creative pop-up voyeurs, the 
tabs can take on interesting shapes and become part of 
the illustrations as well. 

The two techniques described in this article can also 
be combined for interesting effects. Once again, the 
world is yours to experiment with. Without attempting 
things first, they can't be improved on. 

As I have with all my previous articles, this will be 
posted on my web site at: 
http://www3 . designs 

Stay tuned to Movable Stationary for my next 
article. In it I will discuss a variation of the peep-show, 
the shadowbox, that can be incorporated into the pages 
of a book. Adding "floaters" to both the shadowbox 
and the peep-show will also be described. Till next 
time, keep cutting and pasting and see what can pop- 

A Slotted Layer Blank 

Once all the layers and the background have been 
made, the accordion sides are required. Each side 
length should be equal to the total number of layer 
blanks (not including the background) multiplied by 
the separation distance glue tabs on each end. 

The side strips should be scored and folded like an 
accordion at one-half the separation distance intervals. 
Slots equal in length to the tabs on your blank (the 
distance between the dotted lines in the illustration 
above) must be cut in every second crease as shown in 
the illustration below. 

Slotted Peep-Show Assembly 

4 Conference of 

The Movable 3ook Society 

September 19 -21, 2002 

Milwaukee, Wisconsin 

Lust en Leering: 
Dutch Movables in the 19th Century 

Theo Gielen 
The Netherlands 


ftwtuvtlcnffc van Tin 
V'fltrfapdM' Kiodtrtioi-*. 

P.J. Buijnsters and 
Leontine Buijnsters- 
Smets, Lust en Leering: 
Geschiedenis van het 
Nederlandse Kinderboek 
in de negentiende eeuw. 
Zwolle, Waanders, 
2001. ISBN 90-400- 
9529-9. Fl. 125.00. 

On February 22, 
2001, almost all Dutch 
"names" involved in the collecting and study of 
historical children's books gathered in the Children's 
Book Museum in The Hague for the presentation of a 
book on the history of 19 th century Dutch children's 
books. The long-awaited book was written by Mr. and 
Mrs. Buijnsters: he a retired professor from Nijmegen 
University where he taught 18* century Dutch 
literature, she an art historian. Both have been well 
known for over 40 years as avid collectors of historical 
children's books. In 1997 the couple published a great 
bibliography of 1 8 th century Dutch children's books and 
schoolbooks and had been working in the years since on 
their history of the children's book in the 19th century. 
It proved to have developed into a beautiful, thick book 
of 504 pages, cloth bound and profusely illustrated with 
42 color and 370 black and white illustrations, for the 
most part taken from their own collections. The book 
has 23 chapters, each of which describes a subject that 
characterizes of the development of the Dutch 
children's book in the treated historical period. 

Of special interest to the readers of Movable 
Stationery is chapter 22 (pages 392-418), entitled 
"Movable Books and Other Novelties," that for the first 
time attempts to provide an inventory of the publication 
of these books in the Netherlands, mainly in the last 
four decades of the 19 th century. 

Starting with a few lines on the early use of 
movables in (pseudo-)scientific works from the late 
Middle Ages (Apian 's Astronomicum Caesareum and 
Vesalius' Tabulae sex), the Sayer harlequinades of the 
1 8 th century (no Dutch examples are known), the early 
use of flaps in some Dutch books for adults (two titles 
mentioned) and the Toilet Books as published in 
England by Stacey Grimaldi, they come to the first 
Dutch movable children's books. From the 1820's they 

found two examples of "paper doll books" done in the 
Fuller tradition: De Weldadige Louise {The Beneficent 
Louise) and De schalksche Willem {The Roguish 
William), both published in Amsterdam in 1827 and 
apparently translated from German (Vienna) or French. 
From the same decade dates a book accompanied by 
loose cards of the pictures of the stories, meant to be 
completed by additional small figures to be inserted in 
the slits of the cards. Only one example is known to 
them: Fabelspel voor de jeugd {A Play of Fables for 
the Youth), again translated from an Austrian work and 
published in 1 820 by H.F. Miiller from Vienna. 

Mentioned as early examples of movable and pop-up 
books in the 1830's and 1840's were the books by 
Leopold Chimani in Austria or the (novelty books) 
Dame Wonder 's Transformations by Dean & Co. from 
London - none of them having Dutch equivalents. The 
authors give the honor of producing the first movable 
books to the firm of Dean & Son. They start the history 
of "true" movable books with Dean's series of four New 
Scenic Books which they date in 1856, a year later 
followed by the first books with pull-tabs from Dean as 
well. In our opinion this can be doubted although it is 
often cited. From several copies of all four parts of the 
Dean series we have seen, none was dated in the 1 850s. 
Most Dean titles of the period are dated on their back 
and the earliest we have seen were dated 1860. By 
giving the honor of publishing the first pull-tab books 
to Dean, the authors apparently do not know of the 
pull-tab book published in France in the early 1 830's by 
Jean-Pierre Bres. 

They did find, at least bibliographically, the first 
Dutch title dating from 1 856: De nieuwe Rijschool {The 
New Riding-School), with text by Adriaan van der Hoop 
Jrs. zn and published by H.A.M. Roelants in Schiedam, 
sharing the Dutch history of movable books 
internationally in the first ranks. Most likely the book 
was translated from another language, but since no 
copy was found, it was impossible to trace it to a 
foreign original. And it proved to be a lonely forerunner 
since only from the 1860's onwards did a broader 
stream of movable books and novelties come on the 
market here. The Rotterdam-based firm ofNijgh started 
in 1861 (better dated 1860, since the authors use as 
proof a second edition of the 1860 title to illustrate) 
with the publication of translations of three Dean 
movables: Beweegbaar Prentenboek, Nieuw 
Beweegbaar Prentenboek and De Poppenkast (undated, 
but published in 1862), all originating from Dean's 
(New) Moveable Books series. 

Shortly after this start by Nijgh, the Leyden-based 
firm of P.J. Trap took the challenge and produced six 

other movable books between 1862 and 1866: Het 
nieuwe huis (1862, a translation of Dean's The History 
of How Ned Nimble Built his Cottage), Chinesche 
Schimmen (1864, a translation of Dean's Popular 
Performance of Galanti Show), Kinderspelen (1864), 
Roodkapje (1866), Vertooningen (1864) and Honderd 
wisselende Tqfereelen (1866). The first five were 
translations of Dean originals and the last one is from 
an unidentified German source. Other firms such as 
P.C. Hoog and Nijgh & Van Ditmar from Rotterdam, G. 
Theod. Bom and Hendrik Vleck from Amsterdam, 
Belinfante from The Hague, and A. Tjaden from 
Deventer, all published translations of Dean's original 
movable books (or German originals as Tjaden did) in 
the 1860's. 

Elise van C'alcar. Altijd wat anders from her series of 
"Wonderboeken voor 't jonge Nederland" as published by 
Van Egmond & Heuvelink, Arnhem, [1874]. 

The authors identify thel870's and 1880's as the 
time of the highest popularity of these books in the 
Netherlands, although they do not list many titles to 
prove the statement. The Haarlem publisher I. de Haan, 
working closely with the multinational printing firm of 
Emrik & Binger, and situated in the same town only 
one street apart, had an elaborate list of movable books 
and novelties available from 1 875 until their end about 
1900. The most beautiful productions of this period, 
they think, are the three parts of Wonderboeken voor 7 
jonge Nederland {Wonder Books for the Young 
Holland) by Elise van Calcar and published in Arnhem 
by Van Egmond & Heuvelink: Nooit uitgekeken, Altijd 
wat anders en Telkens mooijer, all having great 
chromolithographs by Emrik & Binger from Haarlem. 
The authors question if these were Dutch originals but 
were unable to trace any possible foreign originals. 

Some extra attention has been given to the 
Amsterdam publisher of mass market books J. Vlieger. 

Since they studied three catalogs of the firm, dating 
from about 1870, about 1886 and about 1907 (in the 
text they say "ca.1900"), they were able to show how 
the number of titles in the stock of this publisher grew 
from only four titles in 1870, to 9 titles in 1886, to a 
full 30 titles in the 1 907 catalog. Unfortunately, most of 
these were titles that were previously published by the 
aforementioned publishers in the 1860's and 1870's 
from which Vlieger had bought the rights (and 
remaining stocks) at publisher's auctions. It was only in 
the 1 890's that Vlieger produced reprints (both cheaper 
and with fewer movable pages) and their "own" 
publications in cooperation with Raphael Tuck from 

In the 1890's some other publishers came into the 
market with books mostly having one or two movables: 
RCA. Campagne (the translation of Warne's Magic 
Lantern Struwwelpeter) and E.L.E. van Dantzig from 
Amsterdam (bringing Dutch editions of books such as 
Tuck's pull-tab books), Erven Loosjes from Haarlem 
{Van Prinsesje tot Koningin, a nice original Dutch 
booklet with triangular fold-outs to celebrate the 
coronation of Queen Wilhelmina in 1 898), Hilarius 
from Almelo (the translation of Raphael Tuck's 
Slovenly Peter) and P. Kluitman from Alkmaar. 
Unfortunately the Rotterdam publisher D. Bolle, did 
only one of the nine titles listed in 1895; from the 
remaining eight, six were bought from I. de Haan when 
they broke up their business after 1900, and the two 
other titles, Mijn prettigste boek and Als de dieren 
konden spreken were published in 1917 (and reprinted 
in 1 923) although both books were previously published 
in their original versions by Tuck & Sons in the 1 890's. 

Further paragraphs of this chapter deal with other 
kinds of "playbooks," that are not specifically movable. 
The first such subject are the "theaterbooks," from 
which the authors mention only German examples such 
as the Marchentheater published 1874 by Hoffmann 
from Stuttgart (should it be considered a book or, better, 
a paper toy?), Franz Bonn's Theater Bilderbuch and 
Isabella Braua' sAllerneuestes Theaterbilderbuch, both 
published by Schreiber from Esslingen, and the great 
Theater Bilderbuch {The Theatre Picture Book). The 
authors apparently did not trace the Dutch version of 
this last title. 

Other novelty books that get short attention are 
"panorama" books (leporellos); "shape" books (from 
which the first listed one, praised as a beauty, can 
hardly be said to be a shaped book: Poppenvilla (1885), 
also known in its English edition as Dolly 's Mansion, 
published by Jarrold & Son, London and pictured in 

full in Haining); "dress" books of which all three known 
Dutch examples get attention, Lina, het vermiste kind 
(1 862), Rudolf en Susanna (ca. 1 865, but 1 862) and De 
nette Juffer Carabas (1880?); "transparency" books, 
represented in Holland by a single example, Zes 
Verhalen uit Duizend en een Nacht, Gouda, G.B. van 
Goor Zonen, [ 1 880] from which the authors didn't trace 
the German original by Theodor von Pichler, 6 
Mdrchen aus Tausendundeine Nacht [ 1 880] (Six stories 
from Thousand and One Nights). 

The last three paragraphs of the chapter we think 
need more research. The "cut-and-paste books," books 
with blanks that have to be pasted over by pieces the 
children cut from extra pages of the book to complete 
the pictures, are suggested to originate from Hachette in 
Paris (referring to such an assumption of Sigrid Metken 
in her Geschnittenes Papier). The kind is said to have 
been no big success in the period of about 1 870. The 
examples given are Iconomania, of Zoo maken de 
kinderen een prentenboek Arnhem, J. van Egmond, 
(1869, but in an earlier chapter dated 1866?). Three 
others prove to be outside the period treated in this 
book: Mijn eigengemaakte prentenboek, De Boerderij 
[1906] and two Knip-Plak prentenboeken published by 
Allert de Lange from Amsterdam only in 1923, Onze 
Lievelingen and Onze Vacantiedagen. The Hachette 
books, however, prove to have been the French editions 
of Warne's Picture Puzzle Toy Books published in 
1869-1870 and then, in 1871, brought in their Dutch 
editions by the Rotterdam publisher H. Altmann. In the 
same year, 1871, Vlieger from Amsterdam also 
published two parts of Vliegers Knipprenten, of Zoo 
maken de kinderen een prentenboek using this same 
"technique," and having at least relative success with 
the formula. 

Rather strange are the lines on "flickbooks" since a 
definition is given for these booklets whose pictures 
seem to move once the pages are flicked over quickly, 
but the (two) examples given illustrate the kind of 
novelty books, known as "conjurers books," the books 
that have small notches and seem to show other 
contents wherever one puts a thumb when turning over 
the leaves. A pity, since the at the end of the 19th 
century newly invented "real" flickbooks caused rather 
a battle between rival firms offering this kind of booklet 
on the Dutch market in the summer of 1897! 

Rather confusing also is the way the last item of this 
chapter, "speaking books," has been treated The first 
one, Het sprekende Prentenboek, with rhymes by W.F. 

Oostveen and published in 1880 by Sijthoff from 
Leiden, effectively does have six plates and only two 
cords to pull to produce the noises - not the mentioned 
eight plates and a same number of noises. This title 
proves to have been sold by Sijthoff a year later to D. 
Bolle from Rotterdam who published the same book, 
here described as a different edition, in November 1 88 1 
under his own imprint. The book, however, was only a 
poor substitute for the glorious edition produced by 
Theodor Brand from Sonneberg, Germany and 
published with the same title Het Sprekend 
Prentenboek, mentioned by the authors but with regret 
that they had not seen or heard it. As an appendix to 
the chapter there is a list of the Dutch movable books 
identified as published in the 19th century, listed 
chronologically according to their publishers. It is not 
easy to work with but all titles are easy to find in the 
title register at the end of the book. 

Some final remarks, we are happy to have this first 
systematic survey of movable and novelty books as 
produced in the Netherlands in the 1 9th century. And 
since there were only a few articles available that 
explored the subject earlier, it was a great challenge to 
write such a chapter in the book. The results have to be 
highly appreciated. Unfortunately the authors do not 
define too well what they understand to be "movable 
books." As a consequence there are a lot of "novelty 
books" included in the paragraphs on "movables." They 
also did not define well enough the terminology used 
(and apologize for it in the introduction to the chapter) 
and use several descriptions for the same techniques, 
maybe causing some confusion for the readers. The 
difficulty of being pressed to estimate several of the 
publication dates of listed titles, makes the reader feel 
the lack of a reliable bibliography of Dutch children's 
books once more. 

Aside from these minor remarks, the reviewed 
chapter is a good source of information on Dutch 
movable books from the 19"' century. This specific 
chapter has been wonderfully illustrated with two color 
and 25 black and white color pictures of the books 
described. As a matter of fact, the rest of the book is a 
joy for anyone interested in historical children's books 
— as were all the people attending its presentation. 

The book has a two-page summary in English and 
is available directly from the publisher and can be paid 
by credit card. See, choose "History" 
and "Miscellania." 


Exhibits and Events 

Origamic Architecture 

American Craft Museum 

New York City 

May 18 - September 2, 2001 

For more than 20 years, the Tokyo architect 
Masahiro Chatani, employing origami, has been 
creating works of "origamic architecture." With his 
design partner, Keiko Nakazawa, he has produced more 
than 50 books on the subject including such titles as 
Paper Magic (Ondori, 1988), American Houses 
(Kondasha International, 1988), White Christmas 
(Kondasha International, 1989), Pop-up Geometric 
Origami (Ondori, 1994). 

This exhibit includes 150 works by Chatani, 
Nakazawa, and Takaaki Kihara, all from Japan; Ingrid 
Siliakus, the Netherlands; and Maria Victoria Garrido 
from Agentina. Their subjects range from world-famous 
architecture to flowers, animals, abstract geometries, 
and everyday objects. 

POP-UP. Peek, Push, Pull, Scratch, Sniff, Slide, 

Spin, Lift, Look, Listen, Raise, Lower, Unfold, Turn, 

Open, Close: An Exhibition of Movable Books and 

Ephemera from the Collection of Geraldine Roberts 


Bienes Center, Broward County Main Library 

Ft. Lauderdale, Florida 

May 31 - September 15, 2001 

A 64-page black and white illustrated catalog of the 
exhibition by James A. Findlay, with an essay by Ann 
Montanaro, a statement by the collector, Geraldine 
Lebowitz, and containing an original pop-up by Roger 
Culbertson will be available for sale for $15.00 
(including shipping and handling within the U.S. and 
elsewhere, payable in U.S. funds ). The catalog may be 
ordered by check or money order made payable to the 
Bienes Center for the Literary Arts. Mail the payment 

Bienes Center for the Literary Arts 

Broward County Library, 6 th Floor 

100 S. Andrews Ave. 

Ft. Lauderdale, FL 33301 

Pop-up Sampler: Books From the Collection of Ann 

Westport Public Library 
Westport, Connecticut 
June 10 - August 31, 2001 

Riverwalk Display in the library throughout the 
summer. The focus of the exhibition will be on general 
interest, commercially-produced 20 th century pop-ups. 
Frank Gagliardi will present "Lunch at the Library" at 
noon on Wednesday, July 1 1 . He will talk about the 
history of movable books and their popularity today. 

Randolph Huebsch - Tunnel Books 

Center for Book Arts, Artists' Slide Night 

New York City 

June 28, 200, 7:00 p.m. 

Book artist Rand Huebsch will join Maureen 
Cummins and Sarah Stengle, and Paul Moxon to 
discuss their work. 

Festival of the Book 

The Columbia College Chicago Center for Book and 

Paper Arts 

July 13 - 14, 2001 

More than 40 dealers from around the country will 
display and sell rare and antiquarian books and maps, 
fine press editions, and artist's books. The Center will 
also hold demonstrations of papermaking, letterpress, 
and bookbinding. 

Membership Renewal 

Don't forget to renew your membership when it is 

Initial membership in the Movable Book Society 
extends one year from the date of payment of dues. 
(The membership expiration date appears on the 
mailing label.) Each member receives a bright green 
renewal form with Movable Stationery when the 
membership is about to expire. If the membership is not 
renewed when the first renewal form is sent, the 
mailing label is updated to read "Final Issue," and a 
second renewal form is mailed with the next issue of 
the newsletter. A membership is dropped if it is not 
renewed after the "Final Issue" notice. When a renewal 
is received, the membership is extended one year from 
the original date. Thus if a membership expires in 
December and is renewed in April, the expiration date 
is still December. 

A selection of about 75 books from Ann 
Montanaro's collection will be exhibited in the 


Noah's Ark Pop-up ABC. 

By Arlene Maguire. Paul Ely, 
illustrator. NY, Little Simon, 
1996. This is one of the few 
pop-up ABC books to have 
any significant text. The story 
of Noah is told inside the 
front cover, on the last page 
and inside the back cover. 
Unfortunately, when it comes 
to the animals, the animal 
names are listed alongside illustrations but the two 
cannot easily be matched. "Xantusidae and xerus, 
youyous and yaks, then zorils and zebras followed their 
tracks." Without assistance can readers tell a xerus from 
a zoril? 

New Publications 
The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or 
advertising. All titles include pop-ups unless otherwise 

Cinderella. Story in a Box. June. Chronicle Books. 12 

pages. 4x6x1. [pull-down, pop-up scene]. $9.95. 0- 


Also: The Princess and the Pea. 0-81 18-3060-8. 

Maisy's Farm: A Pop-up and Play Set. Candlewick. 
June. $16.99. 0-7636-1294-4. 

Ultimate Soccer Pop-up. By Robert Crowther. 
Candlewick. June. $17.99. 0-7636-1627-3. 




00 = 


JO | 


Parading With Piglets: A Playful ABC Pop-up. By 

Biruta Akerbergs Hansen. [Washington, D.C.], National 
Geographic Society, 1996. Two realistic animals appear 
on each of the pages and are set in motion by tabs and 
lift-the-flaps with enclosed pop-ups. There are no 
individual letters on the pages but alliterative phrases 
introducing each animal, such as "licking a lion cub" 
and "visiting a vole." 

Alphabet Zoo: A Pop-up 

ABC Book. By Lynette 

P W l JJkJ^L. n Z, _,* a Pl "- , '' ll ' lL May Rousseau, 

illustrator. Jane 
McTeigue, paper 
engineer. Santa Fe, NM, 
Envision Publishing, 1997. 
Fanciful animals 
sometimes wearing hats, 
shoes and other clothing 
hide behind the bold, colorful upper-case letters. By 
lifting flaps, pulling tabs, or rotating wheels, the reader 
uncovers the animal identified with each letter. Many of 
the animals move or pop-up as they revealed and they 
are identified as they come out from under cover. 


Carpenter, Humphrey and Marie Prichard. The Oxford 

Companion to Children 's Literature. Oxford: New 

York, Oxford University Press, 1991. 
Hunt, Peter. Children 's Literature: An Illustrated 

History. New York: Oxford University Press, 

Silvey, Anita, ed. Children 's Books and Their 

Creators. New York: Houghton Mifflin Company, 

Sutherland, Zena and May Hill Arbuthnot. Children 

and Books. Glenview: Illinois, Scott, Foresman & 

Co., 1986 

Catalogs Received 

Aleph-Bet Books. Catalogue 66. 218 Waters Edge, 
Valley Cottage, NY 10989. Phone: 914-268-7410. Fax: 
914-268-5942. Email: 

Cattermole 20 th Century Children's Books. Catalog 35. 
9880 Fairmount Road, Newbury, Ohio 44065. 440-338- 
3253. Email: 
http ://www. cattermole. com . 

A. Dalrymple, Bookseller. Catalog 27. 1037 No. Old 
Woodward #2, Birmingham, MI 48009. 
Phone: 248-723-8058. 

Rose Lasley. List Juv 65. 5827 Burr Oak. Berkeley, IL 
60163-1424. Phone: 708-547-6239. 

Jo Ann Reisler, Ltd. Catalogue 54. 360 Glyndon St, 
NE, Vienna VA. Phone:703-938-2967. Fax: 703-938- 
9057. Email: 

Henry Sotheran Limited. Catalogue 1048. 2 Sackville 
St. Piccadilly, London W1X 2DP. Phone: 0171 439 
6 1 5 1 . Fax: 1 7 1 434 20 1 9. 

Heidi Stransky. Cranhurst Books. 20 Cranhurst Road. 

Willesden Green, London NW2 4LN. 

Phone: 020 84527845. Fax: 020 8452 0689. Email: 

Unicorn Books. Pop-ups Catalogue. Sheila Feller. 56 
Rowlands Ave., Hatch End, Pinner, HA5 4BP, 
England. Phone:0181-420-1091. Fax: 0181-428-0125.